Character who writes on his body writing instrument

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Character who writes on his body Writing Instrument Type of bodily writing Does (s)he also function as a writer? Is Lagana indirectly responsible for injury? Is Dave indirectly responsible for injury? Tom Duncan Himself Gun Penetration (bullet) No Yes No Atkins Himself Syndicate Soda Obesity No Yes No Tierney Himself Syndicate Bar Snacks Obesity No No No Larry Gordon Vince Gun Penetration (bullet) Yes No Yes Vince Stone Debby Coffee Burns Scalding coffee in face Yes No No David Bannion No One NONE NONE Yes N/A N/A Mike Lagana No One NONE NONE Yes N/A N/A
190 Figure 3-1. Effie's gesture toward Iva, Brigid and/or Sam Figure 3-2. Crystal staring into space
191 Figure 3-3. Crystal "rejected" by Casey Figure 3-4. Telephone Operators
192 Figure 3-5. Rose on telephone Figure 3-6. Crystal on telephone/Sally on couch -- Deep Focus
193 Figure 3-7. Sally bounds off couch - wire visible Figure 3-8. Norah‘s entanglement with the wire
194 Figure 3-9. Immobility: line of switchboard operators including Sally Figure 3-10. Norah unable to entangle herself from man at elevator
195 Figure 3-11. Mise-en-scène Norah‘s, Crystal‘s and Sally's telephone Figure 3- 12. Norah's "POV" of Rose and Prebble‘s fight
196 Figure 3- 13. Norah hits Crystal‘s ―Sacroiliac‖ Figure 3-14. Sally‘s bare legs
197 Figure 3-15. Intimacy in bathroom: Sally's bare arm in mirror and Norah at sink Figure 3-16. Mise-en-scène: Kitchen scene opening shot: Mom, Mom and Baby
198 Figure 3- 17. Crystal‘s loving car ess of Norah Figure 3-18. Last shot of Crystal, Sally and Norah - A man blocks their exit; Casey in the background
199 Figure 3-19. Casey tossing his little black book to Sleepy Figure 3-20. Overlap Dissolve from Lucy's name to ―The Retreat.‖
200 Figure 3-21. First shot of Lucy - Dave [screen left] approaches Lucy at the bar Figure 3-22. Lucy in overlap dissolve joins Bertha and Dave
201 Figure 3-23. Mise-en-scène at the Retreat prior to public burning of Doris' hand Figure 3-24. Vince burns Doris' hand; Debby's arm reaches into the frame
202 Figure 3-25. Doris' burned hand. Deep-focus encourages eye to focus anywhere Figure 3-26. Mise-en-scène: boiling coffee between Debby and Vince
203 Figure 3-27. Debby's face as written-upon text Figure 3-28. Last shot of the film- Note items in Hugo's hands
204 CHAPTER 4 THE OPTIC WHITENESS OF FILM NOIR AND REJ ECTED ―WOMEN‖ OF FIL M NOIR The world brightens as it darkens. W.E.B. Du Bois Our whi te is so white you can pain a chunka coal and you‘d have to crack it open with a sledge hammer to prove it wasn‘t white clear through —Lucius Brockaway, from Ralph Elision‘s The Invisible Man Mama Ochobee as the Gaze in the Picture In an early scene in Key Largo, 1 as Nora and Frank secure the lines of a boat in preparation for a hurricane, Charlie Wenoka and his family arrive at the Temple‘s dock. One of the occupants of the boat includes the family‘s matriarch, Mama Ochobee. Nora tells Frank, ― Every Indian around here is a descendant of Mama Ochobee. She admits to being 108, but she has a son 112 so we suspect Mama lies about her age.‖ Huston shoots a number of close-ups of Mama Ochobee. In one, she smokes a cigarette (given

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